Lensky: Eugene Onegin (Welsh) : Opra Cymru
Music Theater Wales: September 2014:
Much power in the singing from ensemble and leads; Angharad Lyddon is a feisty Olga and Alex Vearey-Roberts a commanding Lensky.
Wales Online/Western Mail: September 2014 Mike Smith:
Alex Vearey-Roberts was a heartfelt Lensci
Nemorino: The Elixir of Love: Opera Up Close Kings Head:
Opera Magazine: April 2013: Peter Reed:
Alex Vearey-Roberts was endearing as Nemorino, far from being the halfwit of some stagings, and uppishly in love with Adina. He and his lyrical tenor had a forthright, appealing, presence, and I enjoyed the way he fanned the flame of his Adina-fixation in Una furtive lagrima.
MellowDayLondon: February 2013: Fiona Lister:
Alex Vearey-Roberts played the role of Nemorino during the first opening night, a role that is portrayed on alternate nights by Alex and Philip Lee. Vearey-Roberts shines as Adina’s lovesick pool boy/gardener who is trying to write a screenplay and dreams of winning his way into Adina’s affections. Vearey-Roberts charms the audience with his lost college-boy looks and his desperation at seeing Adina making eyes at her fiance
afridiziak.com/theatrenews: March 2013: Gillian Fisher:
Alex Vearey-Roberts plays our hero Nemorino whose volatile nature is glibly emulated by his impressive vocal range. The hopeful ecstasy on the pool-boy’s face as he gazes expectantly at the love potion is truly stirring.
West End Frame: February 2013: Alison Wisenfeld:
Alex Vearey-Roberts as Nemorino, gardener, pool boy and love-sick aspirational writer who plays with your heart strings as he chants his woes.
Playstosee.com: February 2013: Richard Voyce:
Meanwhile, as the pool-boy Nemorino, Alex Vearey-Roberts treads the fine path between pathos and innocent sensuality for which this re-working calls.
EducationUpdateOnline.com: July 2014: Dr Irving Spitz:
Tenor Alex Vearey Roberts sang the role of the love struck pool attendant, Nemorino with ardour and flair.
Fortunio: Fortunio: Grange Park Opera Grange Park
Opera Magazine: September 2013: Peter Reed:
Alex Vearey-Roberts fared best as Fortunio… Vearey-Roberts managed puppyish charm well and was an engaging comic. His appealing tenor was just beginning to tire in the fourth act but tugged heart strings to great effect in his love serenade aimed at Jaqueline and in his aria about here he grew up.
musicalcriticism.com: July 2013:
Mike Reynolds: In the title role, Fortunio himself, Alex Vearey-Roberts had a terrific sing: his tenor is open, full-throated and (at times) extremely loud – the Grange Park acoustic, highly supportive as it is to singers, only emphasizing what a big voice he already has (and it will develop much more). He gave us an attractive incarnation of the role and seized with glee his ‘Albert Herring’ moment at the end of the opera, when Jacqueline is clearly about to initiate him into the arts of lovemaking!
In the title role, up-and-coming Alex Vearey-Roberts shows great appeal as her true lover. Theirs is a love affair with deep feeling.
Vasek: The Bartered Bride: RCM IOS
Musical Opinion: October 2010: Sophia Lambton:
in the role of Vasek, could even utter a stammer in character while singing, and still perfect each and every note and give each and every note as much strength, vigour and importance as the one before the last or the one before the other.
Classical Source: Alexander Campbell:
Vasek is a gift of a comic role and Alex Vearey-Roberts brought him to endearing vocal and dramatic life – largely by not overplaying the ‘simple’ card.
Tom Snout: A Midsummer Might’s Dream: RCM IOS
Classical Source: Alexander Campbell:
I particularly liked the costumes for and the deadpan playing of ‘Wall’ as played by Alex Vearey Roberts.
Contino Belfiore: La Finta Giardiniera: RCM IOS
Musical Opinion: Margaret Davies:
Alex Vearey-Roberts was the expressive, resonant – voiced Belfiore
MusicWebInternational: Mark Berry:
However, Alex Vearey-Roberts was a true discovery in the role of Belfiore. Tender, ardent, and beguiling of tone, he also showed himself a fine actor. Both Boushell and Vearey-Roberts handled the surprisingly plentiful accompanied recitative – appropriate to their true, noble standing – with security and with flair.